Year of Wonders

‘Heroism is a feature of ‘Year of Wonders’, but so is its reverse.’ Discuss

What is it to be a hero / heroine? Is it just a matter of goodness? Is it possible for someone whose character is flawed – or suddenly revealed to be flawed - to still retain this status? Geraldine Brooks’ novel, ‘Year of Wonders’ leaves us with such questions and reminds us that these are complex considerations. A ‘hero’ (or ‘heroine’) can be defined as, “a person who is greatly admired for their noble actions and nobility of spirit”. In terms of ‘Year of Wonders’, we can flesh this out more clearly – those we deem ‘heroic’ are seen as such because of their selfless devotion to the welfare of others. They serve others without complaint and with little concern for themselves. They show strength and courage in the face of loss and disaster. They take control of their lives and assist others to manage theirs and they are motivated by a tireless commitment to doing the right thing. Little wonder these qualities are greatly admired.

All of this is undoubtedly a very tall ask of anyone in society. As Brooks suggests, very few of us would ever be able to claim this title – something that is reflected in her novel in the fact that only three (and possibly two?), by its end, could be said to truly fit into this exemplary category. In the case of Anna and Elinor, the jury is clear – they fully deserve to be called heroines, especially as their flaws – such as they are – are lone, minor ones (Anna’s is limited to her showing, during her terrible grief, a liking for opium to smooth away her pain; Elinor’s – a ‘crime’ from years before – the killing of her unborn baby in her ruthless wounding of herself, out of shame). In the case of the third candidate – Michael Mompellion - things are a little more complex. Michael shares all of the qualities of the other two in his commitment to the village and his tireless work to save it. However, his terrible revelation at the novel’s end confounds the readers’ initial wish to label him as ‘heroic’. We need to step back and think a little more about this. We need to ask ourselves, ‘does one action, that is so deeply disturbing, cut him out forever from all other accolades? Could Michael still be called a ‘hero’, in spite of what what he has done to his wife and in spite our protagonist’s (and our?) new dislike for him?’ In part our reaction to Mompellion is drawn from our response to the saintly Elinor whose goodness deserves no cruelty – from him or anyone else – so there is a prejudice against him immediately, when we realise he has been ‘punishing’ her for years. Is all of this enough to put him in a more culpable light? Probably not. After all he does what he does to her out of the misguided belief that he is morally (after all, he is her rector) responsible for her soul and that he is ‘saving’ her – not out of some malicious, or cruel desire to hurt her. Besides, Mompellion remains one who has done much to ‘save’ the village, who has just as determinedly and tirelessly worked for his parishioners in any way he can, as we see in his going out at all hours of the day and night to sit by their bedsides, or to single-handedly dig their graves. He is also universally acknowledged for his service to the villagers and for his wisdom and good judgment, as is indicated when they so willingly accept his dramatic plan for the quarantine of the village. A strong case can be thus made for Michael’s inclusion into the company of ‘heroes’ in the novel, whatever else he might have done.

And what of Brooks’ other characters? What can we say about them, either as ordinary people or exceptional ones? All of this, in its final analysis, depends very much on their actions and reactions to the events of the plague – what we see them doing in response to the horrors brought to the village by this fierce epidemic, and whether that is something, finally, to be admired. Brooks certainly weaves...

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Anna's efforts throughout the plague were transcendent, surpassing that of any other villager. The novel encompassed Anna's 'journey' throughout the course of events, having significantly more importance to the plot than the plague itself. However, it was Elinor that begun Anna on her journey, helping her see that the good she could do, no matter how trivial, could...

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In Year of Wonders, Geraldine Brooks recounts the tale of a small 17th century English village afflicted by the plague, through the honest and reliable narration of Anna Frith. The novel's title alludes to the idea that though the plague is devastating, it gives rise to "wonders". Brooks presents to readers an insightful exploration of the diverse reactions that people can have to adverse circumstances, from Anna Frith's exceptional growth to Aphra's descent into madness. She also acknowledges the complexity of human behaviour: adversity is not always polarising, and people's responses lie on a spectrum, where the distinctions between right and wrong are sometimes blurred.
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Several catalysts contribute to Anna’s change, the manifest of those would be the plague. The plague is taking lives, energy and humanity out of so many characters in the novel. Elinor Mompellion provides a loving platform for Anna that gives Anna the support she needs, this allows her to view the world in a new way and be there for others. Anna became more independent as the novel proceeded and she realised she “did not want to walk each day in yet another place where Elinor had walked.”
“I was not Elinor……But Anna”, she now shows the courage that she can be by herself and makes her own path for the future. The friendship between Anna and Elinor was very strong and one of the main factors that helped Anna through the crisis of the plague, without Elinor Anna would have been unable to make it through...

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This text demonstrates the difficulties of holding on to faith in times of adversity. Discuss.
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...“I wished to know how things stood in the world”. For Anna, the year of the plague is about a journey from ignorance to knowledge. Discuss.
In the extraordinary novel, Year of Wonders, Geraldine Brooks exposes the difficult yet admirable life of Anna Frith, trapped in a community caught in desperate times. As the plague strikes this small village, ignorance and a fear of the unknown become dominant sensations in Eyam in 1666-1667. Anna is completely unaware of the opportunities to grow and succeed that surround her as she struggles with uneducated parents throughout her childhood. London Tailor, George Viccars, opens Anna’s eyes to the world, inspiring her to learn more about herself and the way in which the world works after bringing the devastating illness known to Anna as, “God’s wrath made manifest” to the village. Anna works hard and dreams of finding a cure for the plague after the loss of her two sons. Anna turns to herblore and together with motherly-like figure Elinor, the pair study together after initially not being “interested” in such beliefs. Anna then goes even further, extending her knowledge in the health area after delivering a child by pure instinct. This is the first of many as from this Anna gains in confidence. She slowly begins to improve her understanding of father Josiah and step mother Aphra and why they came to be how they are, although still despises them for their oblivious actions. However it is at...